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Full text of "Catalogue 1946-1951"

THE CURTIS INSTITUTE 
OF MUSIC 



1946-1947 



THE 
CURTIS INSTITUTE OF MUSIC 






^ ^'^'■*^: — ^V*' 



CATALOGUE 

I946-1947 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



COPYRIGHT 1946, BY 
THE CURTIS INSTITUTE OF MUSIC 



PURPOSE 

TO HAND DOWN THROUGH CONTEMPORARY MASTERS 
THE GREAT TRADITIONS OF THE PAST 

TO TEACH STUDENTS TO BUILD ON THIS HERITAGE 
FOR THE FUTURE 




EFREM ZIMBALIST, Director 



THE CURTIS INSTITUTE OF MUSIC 

Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was 
founded in 1924 by Mary Louise Curtis Bok. 

All nationalities, races, and creeds are welcomed. 
The School is approved by the United States 
Government as an institution of learning for the 
training of non-quota foreign students, in 
accordance with the Immigration Act of 1924. 

The School is operated under a Charter of the 
Commonwealth of Pennsylvania, and is fully 
accredited for the conferring of Degrees. 

Students are accepted, under conditions herein 
set forth, exclusively on the Scholarship basis. 



CORPORATION OFFICERS AND DIRECTORS 

THE CURTIS INSTITUTE OF MUSIC 

Officers 

Mary Curtis Zimbalist President 

Curtis Bok Vice-President 

Cary W. Bok Secretary 

Jay H. Mattis Assistant Secretary and Treasurer 

Directors 
Mary Curtis Zimbalist Edith Evans Braun 

Cary W. Bok George P. Orr 

Curtis Bok Jay H. Mattis 

Efrem Zimbalist 



THE MARY LOUISE CURTIS BOK FOUNDATION 

(^Supporting The Curtis Institute of Music) 

Officers 

Mary Curtis Zimbalist President 

Curtis Bok Vice-President 

Cary W. Bok Secretary 

Jay H. Mattis Assistant Secretary and Treasurer 

Directors 
Mary Curtis Zimbalist Edith Evans Braun 

Cary W. Bok George P. Orr 

Curtis Bok Jay H. Mattis 

Efrem Zimbalist 



THE SCHOOL S ADMINISTRATIVE AND EXECUTIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Phyllis Rugg Druian Librarian 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 

•6- 



FACULTY 

Headings in CAPITALS designate major courses; headings in italics, supplementary courses. 

VOICE 

Elisabeth Schumann Marion Szekely Freschl 

Eufemia Giannini Gregory 

Vocal Repertoire, Diction 

Leo Rosenek 

Elizabeth Westmoreland 

Eufemia Giannini Gregory 

Opera Department 
John Wolmut Leo Rosenek 

Stage Director Musical Director 

PIANO 

Rudolf Serkin Isabelle Vengerova 

Mieczyslaw Horszowski 

Piano 

Vladimir SokolofF Eleanor SokolofF 

Freda Pastor 

ORGAN 

Alexander McCurdy 

HARP Harp Ensemble 

Carlos Salzedo Carlos Salzedo 



FACULTY — Continued 

Efrem Zimbalist 
Ivan Galamian 



VIOLIN 



VIOLA 

William Primrose 



Lea Luboshutz 
Veda Reynolds 



VIOLONCELLO 

Gregor Piatigorsky 



Chamber Music 
William Primrose 



String Ensemble 
Marcel Tabuteau 



FLUTE 

William Kincaid 



OBOE 

Marcel Tabuteau 



CLARINET 

Bernard Portnoy 



BASSOON 

Sol Schoenbach 



HORN 
Mason Jones 



DOUBLE BASS 
Carl Torello 



Woodwind Eitsemble 
Marcel Tabuteau 



ACCOMPANISTS 
Vladimir SokolofF Elizabeth Westmoreland 

• 8- 



FACULTY — Continued 



COMPOSITION 

Gian Carlo Menotti 

Orchestration Elements of Music 

Gian Carlo Menotti Edith Evans Braun 

Counterpoint, Harmony 
Constant Vauclain 



Solfige Dramatic Forms 

Anne-Marie SofFray Gian Carlo Menotti 



Languages 

Mary Q. Shumway, A. B., A. M., Ph. D. -.German 

Louise Andre Tabuteau, B. es L., L. es L.: French 

Domenico Vittorini, A. M., D. in L.: Italian 

ACADEMIC TUTOR 

Mary Boyde Wesner, A. B. 
.9. 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 15-19) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 

The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 

Prerequisite : Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 

(Given only in Composition) 

Prerequisite: Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 
The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 

• 10- 



MINIMUM COURSE REQUIREMENTS, ConttiJUed 

The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 



Supplementary Theoretical Courses 

(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 



Voice . 



For the Diploma 

ISolfege: i year 
Harmony: i year 
Elements of Music: i year 

Piano ] 

Organ 1 [ Solfege: i year 

Harp I J Harmony and Counterpoint : 

Violin [ I 2. years 

Viola [ Elements of Music: i year 

Violoncello J 



Double Bass 

Flute 

Oboe 

Clarinet 

Bassoon 

Horn J 



f Solfege: i year 
\ Harmony: i year 



Composition . 



See Note i 



For the Degree Bachelor of Music 



Voice 

Piano 

Organ 

Harp 

Violin , 

Viola 

Violoncello . 
Double Bass . 

Flute , 

Oboe 

Clarinet . . . - 
Bassoon . . . . , 
Horn 



Composition. 



f Solfege: T. years 

1 Harmony and Counterpoint: 
2. years 
Elements of Music: 1 years 



See Note i 



11 



^ffl 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplementary Applied Subjects 

(Major courses in Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 

(Piano : i years 
Diction 
Vocal Repertoire 
Languages 

Piano Chamber Music 

Organ Piano 

„ /Piano:! years 

"*" \ Harp Ensemble 

VlO"N 1 .pi^„o. ^ y„„ 

y'°^* U Chamber Music 

Dr«B^::::::::::;;;:;:;:;;::::;::::::;:W-s Ensemble 



Flutb . . . . 
Obob . . . . 
Clarinet 
Bassoon. . 
Horn . . . . 



{ Piano: i years 

\ Woodwind Ensemble 



Composition Piano: i years 

Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory of 
Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 

Note 2. The requirements in Composition are Elements of Music, Orchestration, and 
Dramatic Forms, and the courses are not considered supplementary but component parts 
of the major course, 

• 12. 



MINIMUM COURSE REQUIREMENTS, Continued 



NoTB 3. The course in Dramatic Forms includes a brief history of dramatic music 
(opera, oratorio); methods of musical dramatic expression (librettos, staging, recit- 
atives, etc.); the analysis of representative operatic works; experiments in the setting of 
dramatic texts. 

Note 4. Public performance, and performance in Curtis Hall, are credited toward grad- 
uation. Students majoring in Composition receive credit for public or Curtis Hall per- 
formance, whether by themselves or by others, of their compositions. Students are 
permitted to accept professional engagements, with the approval of the Director. 

NoTB. 5. Attendance is required at all recitals given in Curtis Hall. 



13 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. Incoming students who request 
it are assisted in finding living accommodations. 

Designated studios are used for practice. The auditorium, 
Curtis Hall, where Faculty, student, and guest recitals, School 
gatherings, and Commencement are held, is used also for re- 
hearsals and organ practice. In general, lessons, classes, and 
rehearsals are scheduled for afternoons; mornings are devoted 
to practice. There is no charge for the reservation of practice 
studios. 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as published by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts and first editions. The 
famous Burrell collection of Wagner manuscripts, documents, 
letters, and other biographical material has recently been pre- 
sented to the Institute by Mrs. Mary Curtis Zimbalist. The 
privilege of borrowing music and books is granted to all 
registered students. Students have the use of textbooks with 
out charge. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 

• 14- 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying with a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accom- 
panied by the necessary postage. 

Auditions are scheduled at the convenience of the Faculty and 
requests for changes in appointments cannot be considered. 

School Year 1947-1948 

Persons wishing consideration for auditions and examinations 
to be held in April-May 1947 should request, complete, and 
return the application form with required supporting documents 
not later than January 15, 1947 . 

All communications should be addressed to 
The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia (3), Pennsylvania 

•15- 



ENTRANCE REQUIREMENTS 



Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise of 
development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, is 
desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 



VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 

16 



ENTRANCE REQUIREMENTS: Qualifications for Audition or Examination, Continued 

Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries); English songs of any- 
period which have artistic merit. 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between seventeen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory : 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Beethoven sonata, complete; 3) two selections — one 
slow and one brilliant — from the works of Chopin. 

Age of applicants: 2i^^\'icd.nis should be under twenty-one. 

ORGAN 

Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano: 1) a 
study; 2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 

• 17 • 



ENTRANCE REQUIREMENTS: Qualifications for AuJition or Examination, Continued 

of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works 
from contemporary literature. 

Age of applicants: applicants should be under twenty-one. 



VIOLIN 

Applicants under fourteen years of age shall play: 1) scales in 
three octaves and double stops; 2) Kreutzer or Rode etudes; 
3) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play: 1) all scales in 
fluent tempo and double stops; 2) a Bach sonata for violin alone; 
3) etudes by Dont or Paganini; 4) a concerto of Mozart, Spohr, 
Beethoven, Brahms, Paganini, Mendelssohn, Vieuxtemps, 
Wieniawski, or Goldmark. 

Age of applicants: applicants should be under twenty-one. 



VIOLA 

Applicants shall play: 1) all major and minor scales and arpeg- 
gios; 2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 



VIOLONCELLO 

Applicants shall play: 1) all major and minor scales and arpeg- 
gios; 2) an etude or a caprice by Franchomme or Piatti or 

• 18 • 



ENTRANCE REQUIREMENTS: Qualifications for Audition or Examtnation, Continued 

Duport; 3) a fast and a slow movement from a Bach suite; 4) a 
concerto from the standard repertoire or a sonata by Beethoven 
or Brahms or a modern composer. 

Age of applicants: applicants should be under twenty-three. 



DOUBLE BASS 

Applicants shall possess a good car, sense of rhythm, and the 
ability to read at sight. They shall play: 1) all the scales, 
intervals, and arpeggios; 2) one movement of a concerto or a 
sonata. 

Age of applicants: applicants should be under twenty-one. 



FLUTE, OBOE, CLARINET, BASSOON, HORN 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read at 
sight. 

Age of applicants: applicants should be under twenty-one. 



COMPOSITION 

Applicants shall submit several original compositions. Or- 
chestral compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed. 

•19- 



CALENDAR 

1946-I947 

September 23 (Monday) \ Registration of new 
September 24 (Tuesday) J students 

September 25 (Wednesday) 1 Registration of old 
September 26 (Tliursday) J students 

September 30 (Monday) : First Term opens 
November 28 (Thursday^: Thanksgiving Holiday 
December 16 (Monday^) through 



I Christmas Vacation 
January 5 (^Sunday) 



January 6 (Monday): School re-opens 

April: Auditions and examinations begin for enrolment 
of new students for the School Year 1947-1948 



April 4 (Friday') through , ^ 
^ ^ -^^ ^ ^ Easter Vacation 



April 9 (Wednesday^ 

May 9 (Friday) : Last day of instruction 

May 10 (Saturday) : Commencement 

Recitals as scheduled 
• 20- 



THE CURTIS INSTITUTE 
OF MUSIC 



1947-1948 



■■ 



THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1947-1948 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



COPYRIGHT 1947, BY 
THE CURTIS INSTITUTE OF MUSIC 



PURPOSE 

TO HAND DOWN THROUGH CONTEMPORARY MASTERS 
THE GREAT TRADITIONS OF THE PAST 

TO TEACH STUDENTS TO BUILD ON THIS HERITAGE 
FOR THE FUTURE 




EFREM ZIMBALIST, Director 



THE CURTIS INSTITUTE OF MUSIC 
Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was 
founded in 1924 by Mary Louise Curtis Bok. 

All nationalities, races, and creeds are welcomed. 
The School is approved by the United States 
Government as an institution of learning for the 
training of non-quota foreign students, in 
accordance with the Immigration Act of 1924. 

The School is operated under a Charter of the 
Commonwealth of Pennsylvania, and is fully 
accredited for the conferring of Degrees. 

Students are accepted, under conditions herein 
set forth, exclusively on the Scholarship basis. 



CORPORATION OFFICERS AND DIRECTORS 
THE CURTIS INSTITUTE OF MUSIC 

Officers 

Mary Curtis Zimbalist President 

Curtis Bok Vice-President 

Gary W. Bok Secretary 

Jay H. Mattis Assistant Secretary and Treasurer 

Directors 

Mary Curtis Zimbalist Helene Boericke Bok 

Gary W. Bok Edith Evans Braun 

Curtis Bok George P. Orr 

Efrem Zimbalist Jay H. Mattis 



THE MARY LOUISE CURTIS BOK FOUNDATION 

(_Sufportini The Curtis Institute of Music) 

Officers 

Mary Curtis Zimbalist President 

Curtis Bok Vice-President 

Gary W. Bok Secretary 

Jay H. Mattis Assistant Secretary and Treasurer 

Directors 
Mary Curtis Zimbalist Edith Evans Braun 

Gary W. Bok George P. Orr 

Curtis Bok Jay H. Mattis 

Efrem Zimbalist 



THE SCHOOL S ADMINISTRATIVE AND EXECUTIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Elizabeth R. Hartman Librarian 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 

.6- 



FACULTY 

Headings in CAPITALS designate major courses; headings in italics, supplementary courses. 

VOICE 

Marion Szekely Freschl Eufemia Giannini Gregory 

Vocal Kepertoire 

Leo Rosenek 

Elizabeth Westmoreland 

Martin Rich 



Opera Department 
John Wolmut, Director 



PIANO 

Rudolf Serkin Isabelle Vengerova 

Mieczyslaw Horszowski 

Piano 

Vladimir SokolofF Martha Halbwachs Massena 

Eleanor Sokoloff Freda Pastor 



ORGAN 

Alexander McCurdy 

HARP Harp Ensemble 

Carlos Salzedo Carlos Salzedo 



FACULTY — Continued 



VIOLIN 

Efrem Zimbalist 



Ivan Galamian 

VIOLA 

William Primrose 

Chamber Musk 
William Primrose 



Veda Reynolds 

VIOLONCELLO 

Gregor Piatigorsky 

String and Woodwind Ensembles 
Marcel Tabuteau 



ORCHESTRA 

Alexander Hilsberg, Conductor 



FLUTE 

William Kincaid 

CLARINET 

Ralph MacLean 

HORN 

Mason Jones 

TRUMPET 

Samuel Krauss 



OBOE 

Marcel Tabuteau 

BASSOON 

Sol Schoenbach 

DOUBLE BASS 

Anton Torello 

TROMBONE, TUBA 

Charles Gusikoff 



PERCUSSION 

Leonard Schulman 



ACCOMPANISTS 

Vladimir SokolofF Martha Halbwachs Massena 

• 8- 



FACULTY — Continued 



COMPOSITION 

Gian Carlo Menotti 



Orchestration 
Gian Carlo Menotti 



Elements of Musk 
Edith Evans Braun 



Counterpoint y Harmony 
Constant Vauclain 



Solfege 
Anne-Marie Soffray 



Dramatic Forms 
Gian Carlo Menotti 



Eurhythmies 
Nadia Chilkovsky 



Languages and Diction 

Jock Rantz: English Diction 

Mary Q. Shumway, A. B., A. M., Ph. D. -.German 

Louise Andre Tabuteau, B. es L., L. es L.: French 

Domenico Vittorini, A. M., D. in L.: Italian 

Eufemia Giannini Gregory: Italian Diction 



ACADEMIC TUTOR 

Mary Boyde Wesner, A. B. 
.9. 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 15-19) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 

The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 

Prerequisite : Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 

(Given only in Composition) 

Prerequisite: Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 
The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 

•10- 



MINIMUM COURSE REQUIREMENTS, Continued 

The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 



Supplementary Theoretical Courses 

(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 

For the Diploma 

fSolfege: i year 
Harmony: i year 
Elements of Music: i year 



Piano 

Oroan 

Harp 

Violin 

Viola 

Violoncello . 

Double Bass . 

Flute 

Oboe 

Clarinet ... 
Bassoon . . . . , 

Horn 

Trumpet. . . . 
Trombone. . . 

Tuba 

Percussion . . 

Composition . 



fSolfege: i year 
Harmony and Counterpoint: 
1 years 
[ Elements of Music: i year 



^ r Solfege: i year 
\ Harmony: i year 



See Note i 



For the Degree Bachelor of Music 



Voice 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello . 
Double Bass . 

Flute 

Oboe 

Clarinet ... 

Bassoon 

Horn 

Trumpet. . . . 
Trombone. . . 

Tuba 

Percussion. . 

Composition. 



iSolfJge: X years 
Harmony and Counterpoint: 
1 years 
Elements of Music: i years 



See Note z 



11 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplementary Applied Subjects 

(Maior courses ia Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 

Piano: 2 years 
Diction 

Voice I Vocal Repertoire 

I Languages 
Opera Class 
Eurhythmies 

Piano Chamber Music 

Organ Piano 

I Piano: 2 years 
Harp Ensemble 
Orchestra 

Violin 1 [Piano: 2 years 

Viola I I Chamber Music 

Violoncello j 1 String Ensemble 

Double Bass J [Orchestra 



Flute. . . , 
Oboe. . . . 
Clarinet . 
Bassoon. . 
Horn. . . . 



I Piano: 2 years 
Woodwind Ensemble 
Orchestra 



Trumpet ] 

Trombone I fPiano: 2 years 

Tuba [ \Orchestra 

Percussion J 

Composition Piano: 2 years 

Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory of 
Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 

12- 



MINIMUM COURSE REQUIREMENTS, Continued 



NoTB 2. The requirements in Composition are Elements of Music, Orchestration, and 
Dramatic Forms, and the courses are not considered supplementary but component parts 
of the major course. 

Note 3. The course in Dramatic Forms includes a brief history of dramatic music 
(opera, oratorio); methods of musical dramatic expression (librettos, staging, recit- 
atives, etc.); the analysis of representative operatic works; experiments in the setting of 
dramatic texts. 

NoTB 4. Public performance, and performance in Curtis Hall, are credited toward grad- 
uation. Students majoring in Composition receive credit for public or Curtis Hall per- 
formance, whether by themselves or by others, of their compositions. Students are 
permitted to accept professional engagements, with the approval of the Director. 

Note 5. Attendance is required at all recitals given in Curtis Hall. 



13 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. Incoming students v^^ho request 
it are assisted in finding living accommodations. 

Designated studios are used for practice. The auditorium, 
Curtis Hall, where Faculty, student, and guest recitals. School 
gatherings, and Commencement are held, is used also for re- 
hearsals and organ practice. In general, lessons, classes, and 
rehearsals are scheduled for afternoons; mornings are devoted 
to practice. There is no charge for the reservation of practice 
studios. 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as published by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts and first editions. The 
famous Burrell collection of Wagner manuscripts, documents, 
letters, and other biographical material has recently been pre- 
sented to the Institute by Mrs. Mary Curtis Zimbalist. The 
privilege of borrowing music and books is granted to all 
registered students. Students have the use of textbooks with- 
out charge. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 

14- 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying with a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accom- 
panied by the necessary postage. 

Auditions are scheduled at the convenience of the Faculty and 
requests for changes in appointments cannot be considered. 

School Year 1948-1949 

Persons wishing consideration for auditions and examinations 
to be held in April-May 1948 should request, complete, and 
return the application form with required supporting documents 
not later than February i, 1948. 

All communications should be addressed to 
The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia (3), Pennsylvania 

•15- 



ENTRANCE REQUIREMENTS 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise of 
development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, is 
desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 

VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries); English songs of any 
period which have artistic merit. 

.16. 



ENTRANCE REQUIREMENTS! Qualifications for Audition or Examination, Continued 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between seventeen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory: 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Beethoven sonata, complete; 3) two selections — one 
slow and one brilliant — from the works of Chopin. 

Age of applicants: 2Lpp\ica.nts should be under twenty-one. 

ORGAN 

Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano: 1) a 
study; 2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works 
from contemporary literature. 

Age of applicants: applicants should be under twenty-one. 

•17- 



ENTRANCE REQUIREMENTS: Qualifications for AuJuion or Examination, Continued 

VIOLIN 

Applicants under fourteen years of age shall play: 1) scales in 
three octaves and double stops; 2) Kreutzer or Rode etudes; 
3) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play: 1) all scales in 
fluent tempo and double stops; 2) a Bach sonata for violin alone; 
3) etudes by Dont or Paganini; 4) a concerto of Mozart, Spohr, 
Beethoven, Brahms, Paganini, Mendelssohn, Vieuxtemps, 
Wieniawski, or Goldmark. 

Age of applicants: applicants should be under twenty-one. 



VIOLA 

Applicants shall play: 1) all major and minor scales and arpeg- 
gios; 2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 



VIOLONCELLO 

Applicants shall play: 1) all major and minor scales and arpeg- 
gios; 2) an etude or a caprice by Franchomme or Piatti or 
Duport; 3) a fast and a slow movement from a Bach suite; 4) a 
concerto from the standard repertoire or a sonata by Beethoven 
or Brahms or a modern composer. 

Age of applicants: applicants should be under twenty-three. 

• 18- 



ENTRANCE REQUIREMENTS: Qualifications for Audition or Examination, Continued 

DOUBLE BASS 

Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play: 1) all the scales, 
intervals, and arpeggios; 2) one movement of a concerto or a 
sonata. 

Age oj applicants : applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read at 
sight. 

Age of applicants : applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 
Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

PERCUSSION, TYMPANI 

Applicants shall possess a good ear, sense of rhythm, the ability 
to read at sight, and show aptitude for the instruments. 

Age of applicants: applicants should be under twenty-one. 

COMPOSITION 

Applicants shall submit several original compositions. Or- 
chestral compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed. 

. 19. 



CALENDAR 

1947-1948 

September 22 (Monday) \ Registration of new 
September 23 (Tuesday) / students 

September 24 (Wednesday) 1 Registration of old 
September 25 (Thursday) J students 

September 29 (Monday) : First Term opens 
November 27 (Thursday): Thanksgiving Holiday 
December 20 (Saturday) through 



- , Christmas Vacation 

January 4 (Sunday) 



January 5 (Monday): School re-opens 

April: Auditions and examinations begin for enrolment 
of new students for the School Year 1948-1949 



March 16 (Friday) through . 1/ ■ 

March 31 (Wednesday) 



April 30 (Friday): Last day of instruction 

Commencement : Date to be announced 

Recitals as scheduled 

• 20 • 






THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



1948 • 194-9 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

TWENTY-FIFTH ANNIVERSARY SEASON 
1948-1949 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



COPYRIGHT 1948, BY 
THE CURTIS INSTITUTE OF MUSIC 




MARY CURTIS ZIMBALIST 

Founder and President 



THE CURTIS INSTITUTE OF MUSIC 

Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 
by Mary Louise Curtis Bok 



To hand down through contemporary masters 
the great traditions of the past 

To teach students to build on this heritage 
for the future 



The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is included in the list of "Colleges and 
Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for immigrant 
students, in accordance with the Immigration Act of 1924. 

Students are accepted under the conditions herein set forth, on the 
scholarship basis exclusively, and pay no tuition fees. 



THE CURTIS INSTITUTE OF MUSIC 



OFFICERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Curtis Bok 

Secretary 
Cary W. Bok 

Trtasurer and Assistant Secretary 
Jay H. Mattis 



BOARD OF DIRECTORS 



Mary Curtis Zimbalist 
Curtis Bok 
Cary W. Bok 
Efrem Zimbalist 



Helene Boericke Bok 
Edith Evans Braun 
George P. Orr 
Jay H. Mattis 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Elizabeth R, Hartman Librarian 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 



6 • 



FACULTY 

Headings in CAPITALS designate major courses ; headings in italics, supplementary courses. 



VOICE 



Marion Szekely Freschl 



Eufemia Giannini Gregory 



Rudolf Serkin 



Vocal Repertoire 

Leo Rosenek 

Elizabeth Westmoreland 

Martin Rich 

Opera Department 
John Wolmut, Director 

PIANO 
Mieczyslaw Horszowski 



Isabelle Vengerova 



Vladimir SokolofF 
Eleanor SokolofF 



Piano 



Martha Halbwachs Massena 
Freda Pastor 



ORGAN 

Alexander McCurdy 



HARP 

Carlos Salzedo 



Harp Ensemble 
Carlos Salzedo 



• 7 • 



FACULTY— Continued 



Ivan Galamian 

VIOLA 
William Primrose 

Chamber Music 
William Primrose 



VIOLIN 

Efrem Zimbalist 



Veda Reynolds 

VIOLONCELLO 

Gregor Piatigorsky 

String Ensemble 
Marcel Tabuteau 



Woodwind Ensemble 
Marcel Tabuteau 



Brass Ensemble 
Charles GusikoflF 



FLUTE 
William Kincaid 



ORCHESTRA 

Alexander Hilsberg, Conductor 



OBOE 

Marcel Tabuteau 



CLARINET 

Ralph McLane 



BASSOON 

Sol Schoenbach 



HORN 

Mason Jones 



DOUBLE BASS 
Anton Torello 



TRUMPET 

Samuel Krauss 



TROMBONE, TUBA 

Charles Gusikoflf 



PERCUSSION 
Leonard Schulman 



Vladimir SokolofF 



ACCOMPANISTS 



Martha Halbwachs Massena 



. 8 • 



FACULTY — Continued 



Orchestration 
Gian-Carlo Menotti 



Solfege 
Anne-Marie Soffray 



COMPOSITION 

Gian-Carlo Menotti 



Counterpoint, Harmony 
Constant Vauclain 



Elements of Music 
Edith Evans Braun 



Dramatic Forms 
Gian-Carlo Menotti 



Eurhythmies 
Nadia Chilkovsky 



Languages and Diction 

Jock Rantz: English Diction 

Mary Q. Shumway, A. B., A. M., Ph. D.: German 

Louis Andre Tabuteau, B. es L., L. es L.: French 

Domenico Vittorini, A. M., D. in L.: Italian 

Eufemia Giannini Gregory: Italian Diction 



ACADEMIC TUTOR 
Mary Boyde Wesner, A. B. 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 15-19) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 
The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 
Prerequisite: Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 
Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite: Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 

The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 



10 



MINIMUM COURSE REQUIREMENTS, Continued 



The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 



Supplementary Theoretical Courses 
(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 

For the Diploma 

{ 



Solfege: 1 year 
Voice \ Harmony: 1 year 

Elements of Music: 1 year 

Piano 

Organ J ( Solfege: 1 year 

Harp \ 3 Harmony and Counterpoint: 

Violin l] 2 years 

Viola I I Elements of Music: 1 year 

Violoncello ^ 

Double Bass 

Flute 

Oboe 

Clarinet 

Bassoon \i Solfege: 1 year 

Horn ( \ Harmony: 1 year 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

For the Degree Bachelor of Music 

Voice 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello ( ( Solfege: 2 years 

Double Bass \) Harmony and Counterpomt: 

Flute >) 2 years 

Oboe / ( Elements of Music: 2 years 

Clarinet 

Bassoon 

Horn 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 



• 11 • 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplementary Applied Subjects 
(Major courses in Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 

Piano: 2 years 
Diction 

Voice ) Vocal Repertoire 

Languages 
Opera Class 
Eurhythmies 

Piano Chamber Music 

Organ Piano 

( Piano: 2 years 

Harp < Harp Ensemble 

( Orchestra 

Violin W Piarjo: 2 years 

Viola M Chamber Music 

Violoncello f j String Ensemble 

Double Bass ) ' Orchestra 



Flute 

Oboe I { Piano: 2 years 

Clarinet >< Woodwind Ensemble 

Bassoon \ [ Orchestra 

Horn 



|i 



Trumpet ) ^ „. 

Trombone ( / l'^''^^ ^^^^f. 

Tuba M ?>"u ^"^^^''^^ 

Percussion ) ^ Orchestra 



Composition Piano: 2 years 



Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory 
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 



• 12 • 



MINIMUM COURSE REQUIREMENTS, Continued 

Note 2. The requirements in Composition are Elements of Music, Orchestration, and 
Dramatic Forms, and the courses are not considered supplementary but component 
parts of the major course. 

Note 3. The course in Dramatic Forms includes a brief history of dramatic music 
(opera, oratorio); methods of musical dramatic expression (librettos, staging, reci- 
tatives, etc.); the analysis of representative operatic works; experiments in the setting 
of dramatic texts. 

Note 4. Public performance, and performance in Curtis Hall, are credited toward 
graduation. Students majoring in Composition receive credit for public or Curtis Hall 
performance, whether by themselves or by others, of their compositions. Students 
are permitted to accept professional engagements, with the approval of the Director. 

Note 5. Attendance is required at all recitals given in Curtis Hall. 



13 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. Incoming students who request 
it are assisted in finding living accommodations. 



The auditorium, Curtis Hall, where Faculty, student, and guest 
recitals. School gatherings, and Commencement are held, is 
used also for rehearsals and organ practice. In general, lessons, 
classes, and rehearsals are scheduled for afternoons; mornings 
are devoted to practice. Designated practice studios are provided 
at the Institute. 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as pubHshed by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts, first editions, and the 
famous Burrell collection of Wagneriana. The privilege of bor- 
rowing music and books is granted to all registered students. 
Students have the use of textbooks without charge. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 

. 14 . 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying with a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled at the convenience of the Faculty and 
requests for changes in appointments cannot be considered. 

School Year 1949-1950 

Persons wishing consideration for auditions and examinations 
to be held in April-May 1949 should request application forms 
(stating major subject), and complete and return them with 
supporting documents not later than February 1, 1949- 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia (3), Pennsylvania 



• 15 



ENTRANCE REQUIREMENTS 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise 
of development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, 
is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 

VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries) ; English songs of any 
period which have artistic merit. 



16 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between seventeen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory: l) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Beethoven sonata, complete; 3) two selections — one 
slow and one brilliant — from the works of Chopin. 

Age of applicants: applicants should be under twenty-one. 

ORGAN 

Applicants shall play from memory: l) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano: l) a study; 
2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works from 
contemporary literature. 

Age of applicants: applicants should be under twenty-one. 



• 17 • 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

VIOLIN 

Applicants under fourteen years of age shall play: l) scales in 
three octaves and double stops; 2) Kreutzer or Rode etudes; 
3) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play: l) all scales in 
fluent tempo and double stops; 2) a Bach sonata for violin alone; 
3) etudes by Dont or Paganini; 4) a concerto of Mozart, Spohr, 
Beethoven, Brahms, Paganini, Mendelssohn, Vieuxtemps, 
Wieniawski, or Goldmark. 

Age of applicants: applicants should be under twenty-one. 

VIOLA 

Applicants shall play: l) all major and minor scales and arpeggios; 
2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 

VIOLONCELLO 

Apphcants shall play: l) all major and minor scales and arpeggios; 

2) an etude or a caprice by Franchomme or Piatti or Duport; 

3) a fast and a slow movement from a Bach suite; 4) a concerto 
from the standard repertoire or a sonata by Beethoven or Brahms 
or a modern composer. 

Age of applicants: applicants should be under twenty-three. 



• 18 • 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

DOUBLE BASS 

Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play: l) all the scales, intervals, 
and arpeggios; 2) one movement of a concerto or a sonata. 

Age of applicants: applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

PERCUSSION, TYMPANI 

Applicants shall possess a good ear, sense of rhythm, the ability 
to read at sight, and show aptitude for the instruments. 

Age of applicants: applicants should be under twenty-one. 

COMPOSITION 

Applicants shall submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed. 



19 



CALENDAR 
1948-1949 

September 20 (Monday) ) -n ■ r j 

■' \ Registration or new students 

September 21 (Tuesday) j 

September 22 (Wednesday) ) t. • • r i j j 

^ \ Registration of old students 

September 23 (Thursday) j 

September 27 (Monday): First Term opens 

November 25 (Thursday): Thanksgiving Holiday 

December 25 (Saturday): Christmas Holiday 

January 1 (Saturday): New Year's Holiday 

In 1949 The Curtis Institute of Music will be twenty-five years 
of age. An appropriate celebration of this event will take place 
January 5th and 6th in the Academy of Music, Philadelphia. 
The entire School will participate. The usual "Christmas Vaca- 
tion" will be postponed to 



January 10 (Monday) through ) ,,., 

•^ ^ > Mid-term Vacation 

January 30 (Sunday) j 

January 31 (Monday): School re-opens 

April: Auditions and examinations begin for enrolment of new students 
for the School Year 1949-1950 

April 15 (Friday) through ) ^ „ . 

■' ° ' . Easter Vacation 



}■ 



April 20 (Wednesday) 

May 6 (Friday) : Last day of instruction 

May 7 (Saturday) : Commencement 

Recitals as scheduled 



20 



THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



194.9 . 1950 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 
1949-1950 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 • PENNSYLVANIA 



COPYRIGHT 1949, BY 
THE CURTIS INSTITUTE OF MUSIC 




MARY CURTIS ZIMBALIST 

Founder and President 



THE CURTIS INSTITUTE OF MUSIC 

Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 
by Mary Louise Curtis Bok 



To hand down through contemporary masters 
the great traditions of the past 

To teach students to build on this heritage 
for the future 



The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is included in the list of "Colleges and 
Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for immigrant 
students, in accordance with the Immigration Act of 1924. 

Students are accepted under the conditions herein set forth, on the 
scholarship basis exclusively, and pay no tuition fees. 



THE CURTIS INSTITUTE OF MUSIC 



OFFICERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Curtis Bok 

Secretary 
Cary W. Bok 

Treasurer and Assistant Secretary 
Jay H. Mattis 



BOARD OF DIRECTORS 



Mary Curtis Zimbalist 
Curtis Bok 
Cary W. Bok 
Efrem Zimbalist 



Helene Boericke Bok 
Edith Evans Braun 
George P. Orr 
Jay H, Mattis 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Elizabeth R. Hartman Librarian 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 



FACULTY 

Headings in CAPITALS designate major courses ; headings in /V<»//c;, supplementary courses. 



Marion Szekely Freschl 



VOICE 



Eufemia Giannini Gregory 



Vocal Repertoire 
Leo Rosenek 
Martin Rich 

Opera Department 

John Wolmut, Director 

Elizabeth Westmoreland, Music Director 



Rudolf Serkin 



PIANO 

Mieczyslaw Horszowski 



Isabelle Vengerova 



Vladimir Sokoloff 
Eleanor Sokoloff 



Piano 



Martha Halbwachs Massena 
Freda Pastor 



ORGAN 

Alexander McCurdy 



HARP 
Carlos Salzedo 



Harp Ensemble 
Carlos Salzedo 



• 7 • 



FACULTY— Continued 



Ivan Galamian 



William Primrose 



FLUTE 

William Kincaid 

CLARINET 

Ralph McLane 

HORN 

Mason Jones 

TRUMPET 

Samuel Krauss 



VIOLIN 

Efrem Zimbalist 



VIOLA and Chamber Music 

VIOLONCELLO 

Gregor Piatigorsky 

Woodwind and String Ensembles 
Marcel Tabuteau 

Brass Ensemble 
Charles Gusikoflf 

ORCHESTRA 

Alexander Hilsberg, Conductor 



Veda Reynolds 



Karen Turtle 



OBOE 

Marcel Tabuteau 

BASSOON 

Sol Schoenbach 

DOUBLE BASS 
Roger Scott 

TROMBONE, TUBA 

Charles Gusikoff 



PERCUSSION 

Leonard Schulman 



Vladimir Sokoloff 



ACCOMPANISTS 



Martha Halbwachs Massena 



• 8 • 



FACULTY— Continued 



Orchestration 
Gian-Carlo Menotti 



COMPOSITION 

Gian-Carlo Menotti 



Elements of Music 
Edith Evans Braun 



Constant Vauclain 

Soipge 
Anne-Marie Soffray 



Counterpoint, Harmony 
Form and Analysis 



George Rochberg 

Dramatic Forms 
Gian-Carlo Menotti 



Eurhythmies 
Nadia Chilkovsky 



Languages and Diction 

Jock Rantz: English Diction 

Mary Q. Shumway, A. B., A. M., Ph. D.: German 

Louis Andre Tabuteau, B. es L., L. es L.: French 

Domenico Vittorini, A. M., D. in L.: Italian 

Eufemia Giannini Gregory: Italian Diction 



ACADEMIC TUTOR 
Mary Boyde Wesner, A. B. 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 15-19) 

AH students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 
The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the follov^ing pages. 

For the Degree Bachelor of Music 
Prerequisite: Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 
Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite: Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 

The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 



10 • 



MI^fIMUM COURSE REQUIREMENTS, Continued 



The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 



Supplementary Theoretical Courses 
(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 

For the Diploma 

i . . 

Elements of Music: 1 year 



I Solfege* 
Voice < Harmony: 1 year 

Piano 



Organ j r Solfege* 

Harp M Harmony and Counterpoint: 

Violin /j 2 years 

Viola 1 ( Elements of Music: 1 year 

Violoncello / 



Double Bass 

Flute 

Oboe 

Clarinet 

Bassoon I r Solfege* 

Horn ( \ Harmony: 1 year 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

For the Degree Bachelor of Music 

Voice 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello [ / Solfege* 

Double Bass \ \ Harmony and Counterpoint: 

Flute V 2 years 

Oboe / | Form and Analysis: 1 year 

Clarinet ( '. Elements of Music: 2 years 

Bassoon 

Horn 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

*The number of years varies according to requirements. 



• 11 • 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplementary Applied Subjects 
(Major courses in Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 

Piano: 2 years 
Diction 

Voice ) Vocal Repertoire 

Languages 
Opera Class 
Eurhythmies 

Piano Chamber Music 

Organ Piano 



Piano: 2 years 

Harp -^ Harp Ensemble 

Orchestra 



{ 



ViOUN W Piano: 2 years 

Viola M Chamber Music 

Violoncello M String Ensemble 

Double Bass ) ' Orchestra 



Flute 

Oboe \ i Piano: 2 years 

Clarinet >< Woodwind Ensemble 

Bassoon \ \ Orchestra 

Horn 






Trumpet j / d- o 

T-70™ l^'rE^Se 

Jbrcussion:.:::;;::::;:;::;::::::' ■>*0"='--"« 



Composition Piano: 2 years 



Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory 
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 



12 



MINIMUM COURSE REQUIREMENTS, Continued 



Note 2. The requirements in Composition are Elements of Music, Orchestration, and 
Dramatic Forms, and the courses are not considered supplementary but component 
parts of the major course. 

Note 3. The course in Dramatic Forms includes a brief history of dramatic music 
(opera, oratorio); methods of musical dramatic expression (librettos, staging, reci- 
tatives, etc.); the analysis of representative operatic works; experiments in the setting 
of dramatic texts. 

Note 4. Public performance, and performance in Curtis Hail, are credited toward 
graduation. Students majoring in Composition receive credit for public or Curtis Hall 
performance, whether by themselves or by others, of their compositions. Students 
are permitted to accept professional engagements, with the approval of the Director. 

Note 3. Attendance is required at all recitals given in Curtis Hall. 



13 



GENERAL INFORMATION 



Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. Incoming students who request 
it are assisted in finding living accommodations. 

The auditorium, Curtis Hall, where Faculty, student, and guest 
recitals. School gatherings, and Commencement are held, is 
used also for rehearsals and organ practice. In general, lessons, 
classes, and rehearsals are scheduled for afternoons; mornings 
are devoted to practice. Designated practice studios are provided 
at the Institute. 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as published by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts, first editions, and the 
famous Burrell collection of Wagneriana. The privilege of bor- 
rowing music and books is granted to all registered students. 
Students have the use of textbooks without charge. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 

. 14 • 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
gi\Q in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying with a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled at the convenience of the Faculty and 
requests for changes in appointments cannot be considered. 

School Year 1950-1951 

Persons wishing consideration for auditions and examinations 
to be held in April-May 1950 should request application forms 
(stating major subject), and complete and return them with 
supporting documents not later than February 1, 1930. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia (3), Pennsylvania 



15 



ENTRANCE REQUIREMENTS 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attdned. Admission is 
limited to those whose inherent musical gift shows promise 
of development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, 
is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 

VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries) ; English songs of any 
period which have artistic merit. 



16 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between seventeen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory: l) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Beethoven sonata, complete; 3) two selections — one 
slow and one brilliant — from the works of Chopin. 

Age of applicants: applicants should be under twenty-one. 

ORGAN 

Applicants shall play from memory: l) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano: l) a study; 
2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works from 
contemporary literature. 

Age of applicants: applicants should be under twenty-one. 



• 17 • 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

VIOLIN 

Applicants under fourteen years of age shall play: l) scales in 
three octaves and double stops; 2) Kreutzer or Rode etudes; 
3) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play: l) all scales in 
fluent tempo and double stops; 2) a Bach sonata for violin alone; 
3) etudes by Dont or Paganini; 4) a concerto of Mozart, Spohr, 
Beethoven, Brahms, Paganini, Mendelssohn, Vieuxtemps, 
Wieniawski, or Goldmark. 

Age of applicants: applicants should be under twenty-one. 

VIOLA 

Applicants shall play: l) all major and minor scales and arpeggios; 
2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 

VIOLONCELLO 

Applicants shall play: l) all major and minor scales and arpeggios; 

2) an etude or a caprice by Franchomme or Piatti or Duport; 

3) a fast and a slow movement from a Bach suite; 4) a concerto 
from the standard repertoire or a sonata by Beethoven or Brahms 
or a modern composer. 

Age of applicants: applicants should be under twenty-three. 



18 



ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

DOUBLE BASS 

Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play: l) all the scales, intervals, 
and arpeggios; 2) one movement of a concerto or a sonata. 

Age of applicants: applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

PERCUSSION, TYMPANI 

Applicants shall possess a good ear, sense of rhythm, the ability 
to read at sight, and show aptitude for the instruments. 

Age of applicants: applicants should be under twenty-one. 

COMPOSITION 

Applicants shall submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed. 



19 



CALENDAR 
1949-1950 



September 19 (Monday) ) t, ■ ■ e , 

V Registration or new students 



September 20 (Tuesday) 



September 21 (Wednesday) ) r, • • r . . , 

V Registration or old students 

September 22 (Thursday) j 



September 26 (Monday) : First Term opens 

November 24 (Thursday): Thanksgiving Holiday 



December 17 (Saturday) through , ^, . „ . 

^ ' * I Christmas Vacation 



} 



January 8 (Sunday) 

January 9 (Monday): School re-opens 



April: Auditions and examinations begin for enrolment of new students 
for the School Year 1950-1951 



April 7 (Friday) through , 

' .Easter Vacation 



\ 



April 12 (Wednesday) 

May 5 (Friday): Last day of instruction 

May 6 (Saturday): Commencement 

Recitals as scheduled 

• 20 • 



THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



1950 • 1951 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1950-1951 



RITTENHOUSE SQUARE 
PHILADELPHIA 3 * PENNSYLVANIA 



COPYRIGHT 1950, BY 
THE CURTIS INSTITUTE OF MUSIC 




EFREM ZIMBALIST, Director 



THE CURTIS INSTITUTE OF MUSIC 
Efrem Zimbalist, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 
by Mary Louise Curtis Bok 



To hand down through contemporary masters 
the great traditions of the past 

To teach students to build on this heritage 
for the future 



The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is included in the list of "Colleges and 
Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for immigrant 
students, in accordance with the Immigration Act of 1924. 

Students are accepted under the conditions herein set forth, on the 
scholarship basis exclusively, and pay no tuition fees. 



5 • 



THE CURTIS INSTITUTE OF MUSIC 



OFHCERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Curtis Bok 

Secretary 
Cary W. Bok 

Treasurer and Assistant Secretary 
Jay H. Mattis 



BOARD OF DIRECTORS 



Mary Curtis Zimbalist 
Curtis Bok 
Cary W. Bok 
Efrem Zimbalist 



Helene Boericke Bok 
Edith Evans Braun 
George P. Orr 
Jay H. Mattis 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Efrem Zimbalist Director 

Jay H. Mattis Business Manager 

Jane Fairfax Hill Registrar 

Helen Hoopes Secretary of Admissions 

Elizabeth R. Hartman Librarian 

Ethel Kingsley Nice Secretary to the Director 

Maud Louise Lytle Secretary to the Business Manager 



6 • 



FACULTY 

Headings in CAPITALS designate major courses; headings in italia, supplementary courses. 



Giuseppe De Luca 



VOICE 



Eufemia Giannini Gregory 



Rudolf Serkin 



Vocal Repertoire 

Leo Rosenek 
Vladimir SokolofF 



Opera Department 

Herbert Graf, Director 

Elizabeth Westmoreland, Music Director 



PIANO 



Mieczyslaw Horszowski 



Isabelle Vengerova 



Vladimir Sokoloff 
Eleanor Sokoloflf 



Piano 



Martha Halbwachs Massena 
Freda Pastor 



ORGAN 
Alexander McCurdy 



HARP 
Carlos Salzedo 



Harp Ensemble 
Carlos Salzedo 



• 7 



FACULTY — Continued 



Ivan Galamian 



William Primrose 



FLUTE 
William Kincaid 

CLARINET 

Ralph McLane 

HORN 

Mason Jones 

TRUMPET 
Samuel Krauss 



VIOLIN 

Efrem Zimbalist 



VIOLA and Chamber Music 

VIOLONCELLO 

Gregor Piatigorsky 

Woodwind and String Ensembles 
Marcel Tabuteau 

Brass Ensemble 
Charles Gusikoff 

ORCHESTRA 

Alexander Hilsberg, Conductor 



Veda Reynolds 



Karen Turtle 



OBOE 

Marcel Tabuteau 

BASSOON 

Sol Schoenbach 

DOUBLE BASS 
Roger Scott 

TROMBONE, TUBA 

Charles Gusikoff 



PERCUSSION 

David Grupp 



Vladimir Sokoloflf 



ACCOMPANISTS 



Martha Halbwachs Massena 



• 8 • 



T ACVLTY— Continued 



Orchestration 
Gian-Carlo Menotti 



COMPOSITION 

Gian-Carlo Menotti 



Elements of Music 
Edith Evans Braun 



Constant Vauclain 

Solfege 
Anne-Marie SofFray 



Counterpoint, Harmony 
Form and Analysis 



George Rochberg 

Dramatic Forms 
Gian-Carlo Menotti 



Eurhythmies 
Nadia Chilkovsky 



Languages and Diction 

English Diction: to be announced 

Mary Q. Shumway, A. B., A. M., Ph. D.: Gerjnan 

Louise Andre Tabuteau, B. es L., L. es L.: French 

Domenico Vittorini, A. M., D. in L.: Italian 

Eufemia Giannini Gregory: Italian Diction 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 15-19) 

All students are on probation during their entire period of enrolment, 
and may be dropped at any time for failure to progress according 
to the standards of the Faculty. 

For the Diploma 
The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 
Prerequisite: Completion of 16 units of the required high school 
subjects as outlined by the Department of Public Instruction, 
Harrisburg, Pennsylvania. 

The degree is given at the completion of not less than four years 
of study in any major course, with a total of 120 Semester Hours, 
of which 60 are to be in Applied Music including the major, 
30 in Theory, and 30 in academic work. The candidate must have 
maintained a high standard of excellence during the entire period 
both in his major and in his supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 
Credit will be given for academic subjects of college grade taken, 
before acceptance or during the period of enrolment, at an 
accredited college or university. 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite: Completion of 120 Semester Hours in the required 
courses admitting to the Bachelor of Music degree in Composi- 
tion, according to the standards of The Curtis Institute of Music. 

The degree is given at the completion of not less than two years 
of graduate study in Composition, and such additional work as 
may be prescribed, with a total of 30 Semester Hours. 



10 



MINIMUM COURSE REQUIREMENTS, Continued 



The Thesis may consist of an extended original composition for 
full orchestra or for chorus and orchestra. 



Supplementary Theoretical Courses 
(Major courses in Capitals) 

All courses in Theory may be anticipated by examination. 

For the Diploma 

i . . 

Elements of Music: 1 year 



( Solfege* 
Voice < Harmony: 1 year 

Piano 



Organ if Solfege* 

Harp M Harmony and Counterpoint: 

Violin M 2 years 

Viola I ( Elements of Music: 1 year 

Violoncello / 



Double Bass 

Flute 

Oboe 

Clarinet 

Bassoon \ ( Solfege* 

Horn ^ I Harmony: 1 year 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

For the Degree Bachelor of Music 

Voice 

Piano 

Organ 

Harp 

Violin 

Viola 

Violoncello f ( Solfege 

Double Bass V \ Harmony and Counterpomt: 

Flute ){ ^^ ^^^^^ . , . 

Oboe ... . . . . ( \ I^o^m and Analysis: 1 year 

Clarinet !'!'!'.'!!!!!!'.!!!!!![ ^ Elements of Music: 2 years 

Bassoon 

Horn 

Trumpet 

Trombone 

Tuba 

Percussion 

Composition See Note 2 

*The number of years varies according to requirements. 



• 11 • 



MINIMUM COURSE REQUIREMENTS, Continued 

Supplementary Applied Subjects 
(Major courses in Capitals) 

The following are required both in courses admitting to the 
Diploma and courses admitting to the Bachelor of Music degree, 
and are taken, except as indicated, throughout the entire period. 

Supplementary Piano may be anticipated by examination. 

Piano: 2 years 
Diction 

Voice ) Vocal Repertoire 

Languages 
Opera Class 
Eurhythmies 

Piano Chamber Music 

Organ Piano 



Piano: 2 years 

Harp ^ Harp Ensemble 

Orchestra 



{ 



Violin ) ( Piano: 2 years 

Viola f 3 Chamber Music 

Violoncello H String Ensemble 

Double Bass ) ' Orchestra 



Flute \ 

Oboe | ( Piano: 2 years 

Clarinet / < Woodwind Ensemble 

Bassoon \\ Orchestra 

Horn ^ 



Trumpet / ^izno: 2 years 

Trombone I) ^^^^^ Ensemble 

Tuba M Orchestra 

Percussion ' 



Composition Piano: 2 years 

Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory 
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic 
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the 
German Schools. 



12 



MINIMUM COURSE REQUIREMENTS, Continued 



Note 2. The requirements in Composition are Elements of Music, Orchestration, and 
Dramatic Forms, and the courses are not considered supplementary but component 
parts of the major course. 

Note 3. The course in Dramatic Forms includes a brief history of dramatic music 
(opera, oratorio); methods of musical dramatic expression (librettos, staging, reci- 
tatives, etc.); the analysis of representative operatic works; experiments in the setting 
of dramatic texts. 

Note 4. Public performance, and performance in Curtis Hall, are credited toward 
graduation. Students majoring in Composition receive credit for public or Curtis Hall 
performance, whether by themselves or by others, of their compositions. Students 
are permitted to accept professional engagements, with the approval of the Director. 

Note 5. Attendance is required at all recitals given in Curtis Hall. 



13 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

Living expenses are the responsibility of the student. 

The School has no dormitories. Incoming students who request 
it are assisted in finding living accommodations. 



The auditorium, Curtis Hall, where Faculty, student, and guest 
recitals, School gatherings, and Commencement are held, is 
used also for rehearsals and organ practice. In general, lessons, 
classes, and rehearsals are scheduled for afternoons; mornings 
are devoted to practice. Designated practice studios are provided 
at the Institute. 

The library of 30,000 volumes includes among its more impor- 
tant sets the Bach Gesellschaft publications, the collected works 
of Beethoven, Schubert, and Schumann as published by Breit- 
kopf, and the complete works of Brahms, Chopin, Handel, 
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many 
volumes of the Denkmaler deutscher Tonkunst, including the 
Tonkunst in Bayern, a number of volumes of the Denkmaler 
der Tonkunst in Oesterreich, and the works of Monteverdi. 
There are a number of rare manuscripts, first editions, and the 
famous Burrell collection of Wagneriana. The privilege of bor- 
rowing music and books is granted to all registered students. 
Students have the use of textbooks without charge. 

Instruments include string instruments of the Italian, French and 
English Schools, Steinway pianos, Lyon and Healy harps, orches- 
tral instruments. The organ in Curtis Hall is a five-manual 
with 98 ranks of pipes, built by Aeolian-Skinner. 

. 14 • 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by an official birth certificate (photostat 
is acceptable), physician's certificate of health, and a recent 
small photograph of the applicant. An applicant enrolled as a 
student at another school of music or studying with a private 
teacher will be considered for an audition or examination only 
if the application form is accompanied by written permission 
from the school or teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled at the convenience of the Faculty and 
requests for changes in appointments cannot be considered. 

School Year 1951-1952 

Persons wishing consideration for auditions and examinations 
to be held in April-May 1951 should request application forms 
(stating major subject), and complete and return them with 
supporting documents not later than February 1, 1951. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia (3), Pennsylvania 



15 



ENTRANCE REQUIREMENTS 

Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing the applicant latitude 
in the selection of works to be presented. While the choice of 
composition is important, the manner of performance carries far 
greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise 
of development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A supplementary knowledge 
of the piano, or other medium, and of the theory of music, 
is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

Accompanists are provided. 

VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries) ; English songs of any 
period which have artistic merit. 



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ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age of applicants: girl applicants should be between seventeen 
and twenty-two, men between nineteen and twenty-five. 

PIANO 

Applicants shall play from memory: l) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Beethoven sonata, complete; 3) two selections — one 
slow and one brilliant — from the works of Chopin. 

Age of applicants: applicants should be under twenty-one. 

ORGAN 

Applicants shall play from memory: l) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano: l) a study; 
2) a nocturne or other slow movement. 

Age of applicants: applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works from 
contemporary literature. 

Age of applicants: applicants should be under twenty-one. 



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ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 



VIOLIN 

Applicants under fourteen years of age shall play: l) scales in 
three octaves and double stops; 2) Kreutzer or Rode etudes; 
3) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play: l) all scales in 
fluent tempo and double stops; 2) a Bach sonata for violin alone; 
3) etudes by Dont or Paganini; 4) a concerto of Mozart, Spohr, 
Beethoven, Brahms, Paganini, Mendelssohn, Vieuxtemps, 
Wieniawski, or Goldmark. 

Age of applicants: applicants should be under twenty-one. 

VIOLA 

Applicants shall play: l) all major and minor scales and arpeggios; 
2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz, 
or Mozart. 

Age of applicants: applicants should be under twenty-one. 

VIOLONCELLO 

Applicants shall play: l) all major and minor scales and arpeggios; 

2) an etude or a caprice by Franchomme or Piatti or Duport; 

3) a fast and a slow movement from a Bach suite; 4) a concerto 
from the standard repertoire or a sonata by Beethoven or Brahms 
or a modern composer. 

Age of applicants: applicants should be under twenty-three. 



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ENTRANCE REQUIREMENTS: 

Qualifications for Audition or Examination, Continued 

DOUBLE BASS 

Applicants shall possess a good ear, sense of rhythm, and the 
ability to read at sight. They shall play: l) all the scales, intervals, 
and arpeggios; 2) one movement of a concerto or a sonata. 

Age of applicants: applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 

Applicants shall possess physical aptitude for the chosen instru- 
ment, a good ear, sense of rhythm, and the ability to read 
at sight. 

Age of applicants: applicants should be under twenty-one. 

PERCUSSION, TYMPANI 

Applicants shall possess a good ear, sense of rhythm, the ability 
to read at sight, and show aptitude for the instruments. 

Age of applicants: applicants should be under twenty-one. 

COMPOSITION 

Applicants shall submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail, 
presenting themselves in person only when so requested. The 
Institute cannot accept responsibility for the return of manu- 
scripts unless the necessary postage is enclosed. 



19 



CALENDAR 
1950-1951 



September 25 (Monday) ) t> • ^- r ^ j * 

^ ^^ K Registration of new students 

September 26 (Tuesday) j 

September 27 (Wednesday) ) „ . . r u ^ j ^ 

^ ^ K Registration of old students 

September 28 (Thursday) j 



September 29 (Friday): First Term opens 



November 23 (Thursday) through | Thanksgiving Vacation 

November 16 (Sunday) f 



December 16 (Saturday) through | Christmas Vacation 

January 7 (Sunday) ) 



January 8 (Monday): School re-opens 

April: Auditions and examinations begin for enrolment of new students 
for the School Year 1951-1952 



March 23 (Friday) through | ^^^^^^ ^^^^^.^^ 

March 28 (Wednesday) / 



May 11 (Friday): Last day of instruction 

May 12 (Saturday): Commencement 

Recitals as scheduled 



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